A splendid addition to the shelf of books about a distinctive, ever elusive figure in American history.
A fresh, top-notch biography of Henry Adams (1838-1918).
Noted historian Brown once again trains his perceptive eye on a major American thinker. As a member of a powerful political family, Adams possessed the strengths and prejudices of his class, and his work both chronicled and reflected the decline of the Boston-centered gentry. Elevating self-pity—what Brown calls his “sense of displacement”—into a unique sensibility and generalizing from it, Adams made irony into a distinctive, signature style. His principal historical works—those about the Jefferson and Madison administrations and Gothic culture—are unrivaled masterpieces. Yet despite a backward-looking mind, Brown notes that Adams also evinced traits of a modern man who, despite his often suffocating emotionlessness, responded to new experiences and historical developments with an open mind—but always critically. Unfortunately, like most members of his class and circle, he was also deeply anti-Semitic, ethnocentric, anti-labor, and racist. “I believe,” writes Brown, “that to understand much of America’s history, and more specifically its movement in the late nineteenth century toward an imperial, industrial identity, one both increasingly beholden to technology and concerned with the fate of the white race, is to understand Henry Adams.” The author presents his “critical profile” of Adams, a man of “fluidity of identity,” with the acuity that marks his earlier works. Few write so confidently of the American historical writings produced by both academic and freelance writers. When Brown leaves American precincts, as he must to write about Adams’ late-life masterpiece, Mont Saint Michel and Chartres, he is less sure-footed, but that weakness only modestly mars the book’s many strengths. It takes up easy company with related works on Adams by Ernest Samuels, Garry Wills, and Edward Chalfant. In deftly capturing a man of enormous scholarly achievement, near-tragic limitations, and symbolic significance in American history, Brown gives us another fine biographical study.
A splendid addition to the shelf of books about a distinctive, ever elusive figure in American history.Pub Date: Nov. 10, 2020
ISBN: 978-1-982128-23-4
Page Count: 464
Publisher: Scribner
Review Posted Online: July 21, 2020
Kirkus Reviews Issue: Sept. 1, 2020
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
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